Barbara Bray, A Woman of Letters Translator, Radio Producer, Scriptwriter, Critic, and Theatre Director

Pascale Sardin

Routeledge, 2024

ISBN 9781032814278

î Voir sur le site de l'éditeur

Barbara Bray (1924-2010) was an English woman of letters who translated some hundred novels, plays, and essays from French to English and was Marguerite Duras’s preferred translator. She also collaborated with some of the most prestigious directors and playwrights of the 20^th century – Harold Pinter, Samuel Beckett, Joseph Losey, and Franco Zeffirelli – helping them write screenplays and radioplays. This literary biography (re)evaluates in a textual, sociological, and historical perspective the social role of an English writer and translator in the history of ideas and contemporary art. Highlighting Bray’s influence in cultural transfers of ideas and literatures between France, Great Britain, and the United States, it renders visible the yet unrecognised work of a female mediator and creator. It nourishes the debate about women’s public voice and the representation of women in the media industries and contributes to enrich the ‘other’ history that is being currently written by feminist scholars around the world.

L'ouvrage Contemporary Photography as Collaboration, dirigé par Karine Chambefort-Kay (Imager/UPEC) et Mathilde Bertrand (Climas/UBM), rassemble des contributions de chercheurs et de photographes internationaux autour des pratiques collaboratives en photographie (production, conservation et archives, enseignement...)

https://doi.org/10.1007/978-3-031-41444-2

La couverture est l’œuvre de Maryam Firuzi, photographe iranienne.

Cette publication a reçu le soutien des laboratoires IMAGER (Université Paris Est Créteil), CLIMAS (Université Bordeaux-Montaigne) et ECLLA (Université Jean-Monnet in Saint-Étienne)

This book explores a spectrum of contemporary photographic practices across the fields of image-making, curating, archiving, teaching, community development and activism that have envisioned photography as ontologically and ethically collaborative. By looking specifically into the contexts where collaborative projects are produced and shown, and into the dialogical relation to the people they engage with ?in hospitals, in prisons, in working-class neighbourhoods, with indigenous people, refugees, women, persons experiencing homelessness, young people? the contributions from practitioners, scholars, and curators show participatory practices to create the conditions for building new subjectivities, or making visible a multiplicity of identities, thus opening up a new politics of visibility. Therefore, this book specifically addresses the political, counter-cultural dimension of collaborative projects, but also their subversiveness in relation to dominant practices within the field of photography: this includes a reinvention of the position of the photographer ?in turns facilitator or project leader? of curating and exhibition models, of archiving methodologies, of photographic education and of market practices.

Ce volume collectif étudie le style de Samuel Beckett au miroir de ses lettres en ce qu’elles donnent une idée de l’évolution de son style épistolaire et littéraire. Il s’intéresse à ses propos métastylistiques et à ceux de ses correspondants, ainsi qu’à la parenté stylistique entre les lettres et l’œuvre.

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ISBN: 978-2-406-13754-2

Table des matières

Karine Germoni, Pascale Sardin et Llewellyn Brown - Avant-propos   9

PREMIÈRE PARTIE - PISTES D’OUVERTURE

Peter Gidal - Deciphering beckett’s epistolatory notes and some private memories that smuggled themselves along, “something outside the head, not life, necessarily”  21

Mégane Mazé - Hybridité de la forme et hybridation de la figure
dans The Letters of Samuel Beckett  29

Virginie Podvin - Le style polyglotte de Samuel Beckett
au miroir de sa correspondance  45

DEUXIÈME PARTIE - BECKETT ET LES ARTS

Silvia De Min - L’écriture de l’image dans les lettres de Samuel Beckett à Georges Duthuit   69

Jean-Michel Gouvard - Beckett et d’Annunzio. Démêlés avec le “style grenade”   91

Michael Palmese - Samuel Beckett’s Music Criticism. “My musical susceptibility seems
all concentrated in my arse”  113

TROISIÈME PARTIE - DIALOGUES

Julie Bénard - L’“écriture empêchée” de Samuel Beckett au prisme des lettres. Correspondance avec Mary Manning Howe, Thomas MacGreevy et Georges Duthuit  129

Pascale Sardin - De Samuel Beckett à Marguerite Duras en passant par Barbara Bray. Une écriture en mode mineur  157

Llewellyn Brown - Dialogisme et style de l’échec dans les lettres de Samuel Beckett à Georges Duthuit  177

Palgrave Studies in Life Writing (Palgrave Macmillan)
September 2022 294pp

ISBN: 978-3-031-08855-1

This book explores hybrid memoirs, combining text and images, authored by photographers. It contextualizes this sub-category of life writing from a historical perspective within the overall context of life writing, before taking a structural and cognitive approach to the text/image relationship. While autobiographers use photographs primarily for their illustrative or referential function, photographers have a much more complex interaction with pictures in their autobiographical accounts. This book studies how the visual aspect of a memoir may drastically alter the reader’s response to the work, but also how, in other cases, the visual parts seem disconnected from the text or underused.

Table of Contents

1- Introduction (Pages 1-14)

2- The I of the Photographer: A Historical Perspective (Pages 15-64)

3- A Structural Approach to Photographers’ Memoirs (Pages 65-142)

4- A Cognitive Approach to Photographers’ Memoirs (Pages 143-230)

5- Hold Still (Pages 231-270)

6- Conclusion (Pages 271-278)

Arnaud Schmitt's publications: https://hal.archives-ouvertes.fr/search/index/q/*/authFullName_s/Arnaud+Schmitt

 Publisher's website: https://link.springer.com/book/10.1007/978-3-031-08855-1